The sounds produced by 5 cars disturb the singing of birds. The samples used are worked to produce a rhythmic throbbing urban music. The ceaseless passage of vehicles in a succession of four colorful though degraded paintings disrupts the senses of the viewer: the rupture evoked by bright colors and.... More

The sounds produced by 5 cars disturb the singing of birds. The samples used are worked to produce a rhythmic throbbing urban music. The ceaseless passage of vehicles in a succession of four colorful though degraded paintings disrupts the senses of the viewer: the rupture evoked by bright colors and the singing of birds on the one hand, and the degraded image and the roar of engines on the other hand, reflects, in a few minutes, an accepted yet dreaded duality of our civilization. Video selected by "Art Souterrain" 2012, "24èmes Instants Vidéo" and "Screengrab" 2011. Close

My technique is to capture very short samples of about 2 or 3 seconds, where sound and image are straight away equally important. The strong constraint of my approach is to never separate them but to play with their perceptive complementarity. These samples are multiplied in time but also in the p.... More

My technique is to capture very short samples of about 2 or 3 seconds, where sound and image are straight away equally important. The strong constraint of my approach is to never separate them but to play with their perceptive complementarity. These samples are multiplied in time but also in the picture, undergoing successive distortions that affect the frame rate, color, scale, not to mention those imposed necessarily to sound. The repetition, time lag and arrangement of the samples create a near-musical rhythm that in some cases may be at the origin of the final composition. To summarize, sound, rhythm, musicality on the one hand and the constantly evolving plastic composition on the other are inseparable elements of my approach. It’s how I get what I call rhythm'n'split. I force myself to the utmost simplicity in the audiovisual shootings inspired by everyday life. Neon tubes that light up, passing cars, banging doors, ringing phones become visual “OCD”. Things are distorted and manipulated, reassembling a new obsessive and compulsive reality, close to Dada by its humor and only made sustainable by the rhythmic harmony obtained. From the chaos and apparent anarchy of these collages emerges an aesthetic based not on the meaning or the message but on the intermedial coherence between sound and image. My videos are as aesthesic as aesthetic, in order to bring the viewer to experience the immediate sensory elements of everyday life. Convinced that art must leave the premises devoted it and come out to meet people, I try to deal with video art as street artists do, with the desire to deliver the essential in just a few lines or blocks of color. I do not want my videos to live on the margins of society, solely locked in official art places, but to fit into the urban landscape to become accessible to everyone. The mention from the jury awarded by "Artaq" 2012 ("Street Art and Urban Art Awards") to "Neons Melody" and the screening of "Interpenetration" by a shop in the Marais (Paris) pushed me to continue along this path and to explore new forms of dissemination of art in the city. Flat screens are increasing in the metro stations or bars and constantly broadcast the same ads, video clips or weather forecasts. It is therefore to convince programmers to devote part of their time to art, to contribute in their own way to the artistic development to which the State holds itself since 1951 with a consistency blessed through the "1% artistique". Initiatives such as All-Nighters are extremely interesting but their only default ilies in their raison d'être : artistic exhibitions, they are too transient to leave the sphere of the exceptional and become part of our everyday life. To make art accessible to everyone, one should allow artworks to integrate into the urban landscape permanently by saving perennial spaces offered to the eyes of everyone, at any time. Close